Saturday, 30 January 2016
Tuesday, 26 January 2016
The Print Room / Castletown House / VÍDEO below
The Print Room/ Castletown House
The Print Room is
one of the most important rooms at Castletown. It is the only fully
intact eighteenth century print room left in Ireland. During Lady
Louisa’s time it became popular for ladies to collect their
favourite prints and then arrange and paste them on to the walls of a
chosen room, along with decorative borders. At Castletown, Louisa,
together with her sister Sarah, decorated this former ante room in
1768. She had been collecting prints since at least 1762, and the
Print Room can be seen as a scrapbook of mid eighteenth century
culture and taste. Included amongst the prints is Joshua Reynolds’
portrait of Louisa’s sister Sarah, sacrificing herself to the
graces. Continuing the family theme the north wall features a print
after Van Dyck of the children of Charles I, including the future
Charles II, Louisa’s great grandfather. Contemporary popular culture
is represented by two prints of the leading actor David Garrick; he
is pictured between the muses of tragedy and comedy above the
fireplace, and with the actress Sarah Cibber on the opposite wall.
Amongst the artists featured are, Rembrandt, Guido Reni, Teniers and
Le Bas.
Unusually this print
room survived changes in taste and fashion, although the room seems
to have been slightly rearranged in the mid 19th century. In the late
nineteenth century this room was used as a billiards room but the
present furnishings more accurately reflect its original purpose as a
small or private sitting room.
The English Print Room Phenomenon
Posted on 19 March
2010 by Kathryn Kane
The phenomenon of
the English Print Room …
The original print
rooms in great houses across the Continent were exactly what one
might suppose them to be, rooms in which fine art prints were
displayed. From the seventeenth century right though to the
mid-nineteenth century, the print room was a feature of many homes of
wealthy gentlemen who were connoisseurs of art. These print rooms
were typically smaller in size than a gallery for the display of
paintings, in keeping with the smaller size of most prints. The
prints displayed in these rooms could be rare or unique, and were
always of great value.
As had been done for
centuries, the prints might be kept in cabinets or in shallow drawers
in tables, should they be very fine or unusual prints. Alternately,
they might be kept in albums, often leather bound, to protect them
from the light. Each print was mounted on an album page of heavy
paper and originally, parallel lines of ink or watercolor borders
were made around the print on the paper. Often these parallel lines
were filled in with a colored watercolor wash, giving the effect of a
frame around the print. Or, the print might actually be framed on its
page by a paper frame made especially for the purpose. By the latter
decades of the eighteenth century, these paper frames had become very
popular and were usually designed and produced by the same
print-makers who were making the prints which they framed. Some print
collectors would use a wide and varying range of frame styles for
these paper frames, but others would settle on a single paper frame
style designed solely for their use. Once such collector who had his
own print frame design was the artist Thomas Lawrence, who had one of
the finest print collections ever assembled.
In some cases, the
prints were framed, sometimes under glass, and hung on the walls of
the print room, skyed as paintings would have been, that is, the wall
was carpeted with many prints in various sizes, hung in tiers from
the cornice or crown molding to the dado or chair rail. In many cases
in such print rooms, the walls were curtained, as were the walls of
some painting galleries. These curtains would be kept closed over the
prints, except when they were being viewed, in order to protect them
from light damage.
Another version of
the print room, which was found only in Britain, blended the
techniques of album and wall display. The prints were mounted
directly on the walls of the print room and were framed with the
paper print frames typically used to frame prints in albums. They
were arranged on the print room walls in skyed fashion, just as
actual framed prints would have been. An example of this blended type
of print room is the Print Room at Uppark in West Sussex. Prints
displayed in this way were typically inexpensive and commonly
available copies of popular paintings, rather than rare fine art
prints. These prints might be hand-colored or, more often they were
grisaille, in either shades of gray or sepia.
Print rooms of this
type were more likely to be seen in the homes of those without the
financial resources of affluent connoisseurs. Those with a taste for
art without the wealth to afford original paintings often purchased
the less expensive engravings of those works which they could display
in their homes in the same way the aristocracy displayed their
expensive paintings. For example, young Englishmen who took the Grand
Tour on a budget would acquire prints and engravings as souvenirs,
rather than paintings and sculpture. These engravings would then be
displayed in the print rooms of their homes when they returned.
Often, the decoration of these print rooms would be done by their
wives, sisters or mothers.
By the
mid-eighteenth century, many ladies, in all ranks of society,
collected inexpensive prints, often on a specific theme, like
animals, landscapes or mythological scenes. When they had gathered
enough, they would paste their prints to the walls of a small sitting
or dressing room. If they were impatient, they might decorate one
wall of a room as soon as they had enough prints, doing each
additional wall as they gathered more prints. Some young girls would
begin collecting such prints in anticipation of decorating a small
room in their home after they married. It was at about this time that
many stationers, printers and some booksellers sold the paper frames,
ribbon swags and other decorative paper embellishments which these
ladies needed to enhance their personal print rooms.
This last type of
print room was known only in Britain and occassionally in America.
There are no instances of this method of print display in Europe. It
also seems clear that these print rooms were seldom, if ever,
decorated by professional decorators. Most of these print rooms were
very personal spaces, most often decorated by the lady or ladies who
used them, even in rather grand houses. There are a few instances of
print rooms which were more public in nature, such as that at Uppark,
but in most cases, even those were most often the product of the
members of the household, usually female, who selected the prints,
decided their arrangement and color scheme, and affixed the prints
and their paper embellishments to the walls.
By the end of the
eighteenth century, instead of pasting the prints directly on the
walls of the room, it became the practice to paper the walls first
with a plain paper of a single, usually pale, color. The print rooms
in less affluent homes were papered with uncolored paper-hangings
which were painted after they were affixed to the wall. In either
case, once the paper was hung and dry, the prints would then be
pasted to that, after which the paper frames, ribbon swags and other
paper embellishments would be pasted to the walls to complete the
design.
Paper-stainers,
those who manufactured paper-hangings, soon got the idea of making
paper-hangings which were essentially ready-made print rooms. These
papers where covered with images of prints surrounded by paper frames
and other embellishments on a solid color ground. Once hung, they
were a good approximation of a print room with significantly less
effort. These paper-hangings, like the earlier print rooms, were
found only in Great Britain, and occasionally in America. There is
some evidence that sets of print-room papers were exported to Europe,
but not in high volume. These papers sold reasonably well in England,
but they did not replace the real print room. Even into the Regency,
there were too many ladies across the country who had their heart set
on creating their own print room to be willing to settle for one
ready-made of paper-hangings.
There are a few
large houses that have print rooms which are still intact. One of
these, the only one in Ireland, can still be seen at Castletown House
in County Kildare, Ireland. This was the home of Lady Louisa Lennox
Connolly, and her husband, Thomas Connolly. It is known that the
prints for this room were being collected as early as 1762. This room
has cream-colored walls covered with sepia-tone prints and
embellishments which Lady Louisa and her friends cut out and applied
to the walls. I had an opportunity to see this print room in person
when I was living in Ireland years ago. Though the room is rather
larger than the average print room, it is still a cozy, charming and
essentially feminine room, as were the majority of print rooms
created by the many English ladies who decorated their own personal
print rooms from the mid-eighteenth century though the early
nineteenth century.
Though the fashion
for print rooms in England began in the mid-eighteenth century, it
continued into the years of the Regency and there is no reason print
rooms could not be woven into the plot of a Regency romance. Ladies
might get together to help a friend prepare the prints and
embellishments to be affixed to a print room wall, gossiping all the
while. A young lady with a love of art might secretly plan her own
small print room, carefully collecting prints with botanical designs
or scenes from Aesop’s Fables, perhaps slipping out to the print
shops from time to time to search for more prints for her collection.
An impoverished widow might have to give up hope of her own print
room and settle for a room papered with a set of inexpensive
paper-hangings with a print-room design.
I was pleasantly
surprised to discover, during the course of my research for this
article, that the English print room has not faded into the mists of
history. I found two different web sites which offer services for
creating print rooms in the twenty-first century. I have no
affiliation with either of these companies, but both of them have a
number of good images of print rooms and offer services for those who
are interested in having their own print rooms two hundred and fifty
years after they were first fashionable. You can visit Holly Moore
Interiors or The English Print Room, for more information.
Castletown House, Celbridge, County Kildare, Ireland, is a Palladian country house built in 1722 for William Conolly, the Speaker of the Irish House of Commons.It formed the centrepiece of a 550-acre (220 ha) estate. Sold to developers in 1965, the estate is now divided between State and private ownership.
Monday, 25 January 2016
Hitchcock/Truffaut Documentary / Book / Hitchcock/Truffaut Official Trailer 1 (2015) -
2015 French-American documentary film directed by Kent Jones about François Truffaut's book on Alfred Hitchcock, Hitchcock/Truffaut, and its impact on cinema.
Truffaut interviewed
Hitchcock over eight days in 1962 at his offices at Universal Studios
to write his book, and the documentary features reflections from
directors including James Gray, Martin Scorsese, Paul Schrader, Wes
Anderson, David Fincher, Arnaud Desplechin, and Olivier Assayas.
It was first
screened at the 2015 Cannes Film Festival and was shown in the TIFF
Docs section of the 2015 Toronto International Film Festival.
Directed by Kent
Jones
Produced by Charles
S. Cohen
Olivier Mille
Written by Kent
Jones
Serge Toubiana
Based
on Hitchcock/Truffaut
by François
Truffaut
Starring Alfred
Hitchcock
François Truffaut
Music by Jeremiah
Bornfield
Cinematography Nick
Bentgen
Daniel Cowen
Eric Gautier
Mihai Malaimare Jr.
Lisa Rinzler
Genta Tamaki
Edited by Rachel
Reichman
Distributed by Cohen
Media Group
Release dates
19 May 2015 (Cannes)
2 December 2015 (US)
Running time
79 minutes
Country France
United States
Language English
French
Japanese
Hitchcock/Truffaut is a 1966 book by François Truffaut about Alfred Hitchcock, originally released in French as Le Cinéma selon Alfred Hitchcock.
First published by
Éditions Robert Laffont, it is based on a 1962 exchange between
Hitchcock and Truffaut, in which the two directors spent a week in a
room at Universal Studios talking about movies. After Hitchcock's
death, Truffaut updated the book with a new preface and final chapter
on Hitchcock's later films.
The book is the
inspiration for the 2015 documentary, Hitchcock/Truffaut.
In Hitchcock, film
critic François Truffaut presents fifty hours of interviews with
Alfred Hitchcock about the whole of his vast directorial career, from
his silent movies in Great Britain to his color films in Hollywood.
The result is a portrait of one of the greatest directors the world
has ever known, an all-round specialist who masterminded everything,
from the screenplay and the photography to the editing and the
soundtrack. Hitchcock discusses the inspiration behind his films and
the art of creating fear and suspense, as well as giving strikingly
honest assessments of his achievements and failures, his doubts and
hopes. This peek into the brain of one of cinema’s greats is a
must-read for all film aficionados.
Review:
‘Hitchcock/Truffaut’ Revisits the Master of Suspense
Hitchcock/Truffaut
NYT Critics’ Pick
By JEANNETTE
CATSOULISDEC. 1, 2015
“Psycho” (1960)
was the first film I saw in a movie theater, an experience that my
7-year-old self was ill-equipped to parse. Surrounded by jittery
adults, I puzzled over everything, and not just the frantic screaming
that mimicked Bernard Herrmann’s devilishly clever musical cues.
Why, I wondered, was Janet Leigh wandering around in her bra in the
middle of the afternoon?
That juxtaposing of
sex and terror was as essential to Alfred Hitchcock’s cinematic
style as his meticulous deployment of icy blond actresses.
Disappointingly, Kent Jones’s documentary “Hitchcock/Truffaut”
— though not nearly as dry as its title — barely tickles
Hitchcock’s fascinating fetishes. Despite a promising nod to the
brilliant perversions of “Marnie” and “Vertigo” (which few
can deny is one terrifically sick movie), Mr. Jones remains rigidly
focused on hammering home the director François Truffaut’s
motivation for writing the 1966 book on which this film is based: To
lead Hitchcock, then widely considered a mere commercial entertainer,
out of the shoals of populism and into the cineaste spotlight.
Truffaut knew that hindsight was better than no sight at all.
Just as a snooty
reader might be enticed to the novels of Stephen King by a thumbs-up
from The New York Review of Books, movie buffs were likely to view
Truffaut’s enthusiasm for Hitchcock as a sufficient entree to their
discerning fold. But the book, an engrossing record of Truffaut’s
dayslong interview with his idol in 1962, did more than just
reposition its subject’s reputation. It also provided riveting
insight into the art and craft of moviemaking, revealing Hitchcock’s
mastery of time and space and his unwavering preference, honed by his
period of making silent movies, for image over dialogue.
Curating a selection
of the original interview recordings (whose sound quality is damn
near pristine), Mr. Jones fashions an unfaltering encomium that’s
entirely free of the highfalutin monologues that might deter
noncinephiles. Bob Balaban’s intermittent narration is soft and
unintrusive, and a chorus of lauded directors, mostly American and
all male (I can’t help thinking that a woman might have dug deeper
into the significant contributions of Hitchcock’s wife and
collaborator, Alma Reville), chime in with acuity and ardor.
What they don’t do
is show how their own movies might have been influenced by
Hitchcock’s technique, which Mr. Jones lovingly illustrates in
dissections of a few of the master’s most memorable scenes. Though
merely a tasting menu, these moments add jolts of pulpy fun and allow
their creator to speak for himself. The man who embraced many of the
characteristics that movie snobs love to denigrate — his genre; his
prolific output (at the time of the interview, he was just completing
his 48th film); the constraints of the studio system — is finally
his own best argument for the happy coexistence of art and
entertainment.
“Hitchcock/Truffaut”
is rated PG-13 (Parents strongly cautioned). Have you seen ‘Psycho’?
Running time: 1 hour 20 minutes.
Sunday, 24 January 2016
The incorrigible latin lover. / Fernando Lamas / VÍDEO: How Did Fernando Lamas Feel About Billy Crystal's Impression of Him? - W...
 |
"When
a person has an accent, it means they can speak one more language
than you"
|
The incorrigible latin lover.
After Porfirio
Rubirosa , “Tweedland” presents Fernando Lamas.
“JEEVES”
 |
"Sometimes
other men said that he was gay, and nothing pleased him more than
proving them wrong with their own wives.”
|
Born Fernando Álvaro
Lamas y de Santos in Buenos Aires, Argentina, by 1942, he was an
established movie star in his native country. His first film made in
the United States was The Avengers in 1950. In 1951, he signed a
contract with Metro-Goldwyn-Mayer and went on to play "Latin
Lover" roles.
In 1951, he starred
as Paul Sarnac in the musical, Rich, Young and Pretty and as Juan
Dinas in the comedy, The Law and the Lady. Throughout the 1950s,
Lamas had leading roles in a number of MGM musicals, including
Dangerous When Wet with his future wife Esther Williams. After the
beginning of the 1960s, he turned to TV series; mostly appearing in
guest roles. From 1965 to 1968, Lamas had a regular role as Ramon De
Vega on Run For Your Life, which starred Ben Gazzara.
Lamas directed for
the first time in 1963. It was a movie titled Magic Fountain starring
his future wife Esther Williams. He directed another feature film,
The Violent Ones, which was released in 1967 and co-starred Aldo Ray
and David Carradine. He was most active directing on television,
doing episodes that included Mannix, Alias Smith and Jones, Starsky
and Hutch and Falcon Crest. The latter show co-starred his son,
Lorenzo.
Lamas was married
four times. His first marriage was to Argentine actress Perla Mux in
1940 and they had a daughter, Christina before divorcing in 1944.
His second marriage
was in 1946 to Lydia Barachi. Fernando and Lydia also had a daughter,
Alexandra. They were later divorced in 1952.
His third wife was
the American actress Arlene Dahl. They were married in 1954. They
were later divorced in 1960. Out of this marriage was born a son,
Lorenzo Lamas (born January 20, 1958).
His longest marriage
was to the well known swimmer and actress Esther Williams in 1969,
and they remained married until Fernando's death in 1982.
Fernando Lamas died
of pancreatic cancer in Los Angeles, California at the age of 67. His
ashes were scattered by close friend Jonathan Goldsmith from his
sailboat.
After his death,
Lamas's archetypal playboy image lived on in popular culture via the
"Fernando" character developed by Billy Crystal on Saturday
Night Live in the mid-1980s. The character was outlandish and
exaggerated but reportedly inspired by a remark Crystal heard Lamas
utter on The Tonight Show; "It is better to look good than to
feel good." This was one of the Fernando character's two
catchphrases along with the better-remembered "You look
marvelous!" (usually spelled "mahvelous" in this
context).
His friend, actor
Jonathan Goldsmith, took inspiration from Lamas for the character The
Most Interesting Man in the World.
Friday, 22 January 2016
The bathrobe, dressing gown, morning gown or robe de chambre
A bathrobe, dressing
gown, morning gown or housecoat, robe de chambre is a robe. A
bathrobe is usually made from towelling or other absorbent textile,
and may be donned while the wearer's body is wet, serving both as a
towel and an informal garment. A dressing gown or a housecoat is a
loose, open-fronted gown closed with a fabric belt that is put on
over nightwear on rising from bed, or, less commonly today, worn over
some day clothes when partially dressed or undressed in the morning
or evening (for example, over a man's shirt and trousers without
jacket and tie). The regular wearing of a dressing gown by men about
the house is derived from the 18th-century wearing of the banyan in
orientalist imitation. The Japanese yukata is an unlined, cotton
kimono worn as a bathrobe or as summer outdoor clothing. Several
styles of bathrobes are marketed to consumers, categorized by textile
material and type of weave.
Fabrics / Dressing
Gown / Robe de Chambre
Cotton: Cotton is a
natural fiber consisting primarily of cellulose and is one of the
most commonly used fibers in textile manufacturing. Due to the
hydrophilic nature of cellulose, cotton absorbs water easily and is
frequently used by the beach, pool, or following a shower. Cotton
robes are especially suited to use in hot climates because cotton
tends to absorb perspiration.
Silk: Another common
fabric used in robes is silk. Silk is a fine lustrous fiber composed
mainly of fibroin and produced by the secretions of certain insect
larvae (normally silkworms) forming strong, elastic, fibrous thread.
These kinds of bathrobes can be relatively expensive due to the cost
of producing silk. Such robes are very thin and lightweight. These
bathrobes are not particularly suited to wet environments because
they lack the surface area and polarity necessary to absorb water.
However, silk dressing gowns are the traditional choice, since they
are not worn after bathing.
Microfiber:
Microfiber is an extremely fine synthetic fiber, typically made of
cellulose or polyester, that can be woven into textiles to mimic
natural-fiber cloth. Modern microfibers are developed to maximize
breathability and water absorption and can be thinner than the width
of human hair. Much like silk, robes made out of microfiber are light
in weight and are very soft to the touch. Microfiber is flammable.
Wool: Wool is common
in colder climates.
Flannel: Flannel is
a soft woven fabric, made from loosely spun yarn, usually cotton or
wool.
Terry: Terry is a
pile fabric, usually woven of cotton, with uncut loops on both sides,
used for bath towels and robes. The longer and denser the loops are,
more absorbent the bathrobes are.
Velour: Velour is a
fabric with cut loops. Velour bathrobes are typically made with terry
inside, as terrycloth absorbs water better than velour. Velour gives
the bathrobe luxury, coziness, and makes the garment softer to the
touch.
Waffle: Waffle
fabric has good water absorbency, is loose and has a distinctive
"gridlike" appearance. For most part, these bathrobes are
designed for their light weight. "Pique" is a type of
waffle weave that can be applied to cotton, velour, silk, and other
fabrics.
Thursday, 21 January 2016
Endeavour Series 3
Set in mid to late 1960s Oxford, England, the series centres on the early career of Endeavour Morse (Shaun Evans) after he has left Lonsdale College of Oxford University late in his third year without taking a degree, spent a short time in the Royal Corps of Signals as a cipher clerk, and then joined the Carshall-Newtown Police. In the pilot episode, having been transferred to CID after only two years as a uniformed police constable, the young DC Morse soon becomes disillusioned with law enforcement and begins writing a resignation letter. Before he can resign, Morse is sent with other detectives from the Carshall-Newtown Police to the Oxford City Police's Cowley Police Station to assist in investigating the case of a missing fifteen-year-old schoolgirl.
Having studied at
Oxford gives Morse advantages and disadvantages when dealing with
Oxford's "town and gown" divide. During the pilot episode,
he tenders his resignation but his superior, veteran Detective
Inspector Fred Thursday (Roger Allam), the "gov" at the
Oxford City Police's CID, sees in him an unblemished detective who he
can trust and takes him under his wing to be his new "bag man"
meaning assistant, replacing a corrupt Detective Sergeant.
Series
1
Series 1 begins with
Morse transferring to the Oxford City Police in 1965 following a
double-murder investigation that took place during the pilot episode.
Morse is taken under the wing of Inspector Thursday. Thursday names
Morse his designated "bag man" and shows him the ropes as
Morse begins to solve a string of complex multiple-murders, much to
the envy and annoyance of some of his superiors, particularly
Detective Sergeant Jakes and Chief Superintendent Bright. Morse
displays his obvious genius in solving intricate murders, including
several with opera connections. Thursday and fellow officer, Police
Constable Strange, try to steer the young Endeavour into taking his
Sergeant's exam, so that he may be relieved of "General Duties"
and become Thursday's official "bag man" with the
appropriate rank and title. In the Series 1 finale, Morse is shot
while attempting to apprehend a murderer and is placed on light-duty.
At the same time, Morse comes to terms with the death of his cold and
unfeeling father in December 1965.
Series
2
Series 2 begins in
1966 with Morse returning to active duty at Cowley Police Station,
after spending several months on light duty at Oxfordshire (County)
Police's Witney Station, under the direction of D.I. Bart Church.
Morse is received warmly by C.S. Bright and D.S. Jakes, as D.I.
Thursday begins to keep a more watchful eye on the young Endeavour.
As a result of the shooting, Morse begins to suffer from delayed
stress and paranoia, as well as an increase in alcohol consumption.
Upon return to active duty, Morse is confronted first by three cases,
which he tries to tie in together. Morse makes several mistakes in
the investigation, but despite his errors, he solves the cases,
impressing his superiors. During the investigation he suffers a
concussion after being struck over the head and is cared for by his
nurse neighbour, Monica Hicks, in whom he takes an interest. At the
same time, P.C. Strange enters into Freemasonry with many of Oxford's
elite, and D.I. Thursday's daughter, Joan, begins to take an interest
in Endeavour. During the course of several cases, pieces of
circumstantial evidence go missing, and a murder suspect threatens
Morse by claiming association with powerful men who will not take
kindly to interference.
In the final
episode, the looming merger of city and county police and misgivings
about corruption, lead Thursday to consider retirement, in response
to strong hints from C.S. Bright about age and health. Disheartened
by this, Morse speculates to Monica about leaving the police and
going abroad with her. Assistant Chief Constable Clive Deare asks
Thursday and Morse to covertly investigate corruption within the
police and council. Morse is sent to a rendezvous where he is
ambushed by corrupt officers and Thursday is lured to Blenheim Vale,
a derelict former wayward boys home, where there was rampant sexual
and physical abuse (of which Jakes was a victim). Morse escapes the
ambush and goes to support Thursday, who is shot by Deare, a
participant in the abuse at Blenheim Vale. Deare tells Morse he has
framed him for the murder of Chief Constable Rupert Standish. Deare
is about to kill Morse when he is shot dead by a girl who had also
been abused at Blenheim Vale, who then kills herself. Bright and
Strange show up with backup and an ambulance. As Thursday is being
loaded into an ambulance, Morse is arrested by officers from another
force for the murder of Chief Constable Standish. The series ends
with Thursday's fate unknown and Morse in a jail cell.
Shaun
Evans Endeavour Morse Detective Constable (DC), Oxford City Police
CID, Cowley Police Station
Roger Allam Fred
Thursday Detective Inspector (DI), Oxford City Police CID, Cowley
Police Station
Anton
Lesser Reginald Bright Police Chief Superintendent (PCS), Oxford City
Police, Cowley Police Station
Jack Laskey Peter
Jakes Detective Sergeant (DS), Oxford City Police CID, Cowley Police
Station
Sean Rigby Jim
Strange Detective Sergeant (DS), Police Constable (PC) Oxford City
Police CID, Cowley Police Station
James Bradshaw Dr.
Max DeBryn Home Office Pathologist
Abigail
Thaw Dorothea Frazil Editor, Oxford Mail newspaper
Caroline O'Neill Win
Thursday Inspector Thursday's wife
Sara Vickers Joan
Thursday Inspector Thursday's daughter
Jack Bannon Sam
Thursday Inspector Thursday's son
Shvorne Marks Monica
Hicks Morse's neighbour, a nurse with whom he slowly enters a
relationship
Simon Kunz Bart
Church Detective Inspector, Oxfordshire Police CID, Witney Police
Station
Dakota Blue
Richards Shirley Trewlove Woman Police Constable, Oxfordshire Police
CID, Witney Police Station
SERIES 3 / ITV
"Ride" /
3 January 2016
"Arcadia"
/ 10 January 2016
"Prey" /
17 January 2016
"Coda" /
24 January 2016
Endeavour
returns for series 3
‘A sadder and a
wiser man, he rose the morrow morn’
Published: Mon 30
Mar 2015
Which familiar faces
are set to return for the new series of Endeavour after the shocking
and tragic events at the end of series 2?
Falsely accused
Endeavour Morse (Shaun Evans) was last seen isolated and alone
languishing in prison, framed for the murder of Chief Constable
Rupert Standish. Endeavour had unearthed corruption at the very heart
of the City Force but his investigation had taken a sinister twist.
Will his life be back on track? “Live in the shadows long enough…?
You forget the sun.” And does it resemble the life he’d known?
What of Endeavour’s
senior officer, DI Fred Thursday (Roger Allam), whose life was
hanging in the balance after being shot in the chest? Has Thursday
survived serious injury? Is his trademark trilby still hanging on its
hook?
Series three of the
phenomenally successful ITV crime drama and prequel to Inspector
Morse will comprise 4 x 120 minute films and will once again be
written by Lewis and Endeavour creator and Inspector Morse writer,
Russell Lewis. Colin Dexter, whose first Morse story was published in
1975, continues his association with the drama, acting as a
consultant to Endeavour producers Mammoth Screen.
Set in 1967, three
months after Donald Campbell’s ill-fated attempt to break the
300-mile speed barrier on water, the first of the new stories follows
the murder of bus conductress Jeannie Hearne on the night she visited
the local fairground. With the backdrop of the fun fair the
investigation begins…
“1967 is for
Endeavour ‘perhaps the end of the beginning.’ Change is abroad in
the world and not even the city of dreaming spires can escape its
influence. Change for Endeavour, and those most dear to him –
personally and professionally. Departures and arrivals. Entrances and
exits. Our next quartet of mysteries will take the audience on a
psychedelic Summer of Love fairground ride, filled with twists and
turns, shrieks and scares. In particular, one encounter at a certain
stately home will echo down the years, and have consequences that not
even Endeavour Morse could have foreseen. The only constant is death…
And Green Shield Stamps,” says writer Russell Lewis.
Returning to their
roles are Jack Laskey as DS Peter Jakes, Sean Rigby as PC Jim
Strange, Anton Lesser as Chief Superintendent Reginald Bright, James
Bradshaw as Dr Max DeBryn and Abigail Thaw as journalist Dorothea
Frazil.
Endeavour debuted in
2012 with a feature length story to celebrate the 25th anniversary of
Morse. Shaun Evans won over critics and viewers alike with his
portrayal of a young Morse and consequently, the film became the
highest performing new drama title to air on ITV that year.
The second series
returned in March 2014 with a peak audience of 7.0m and a 27% share,
making it one of the best performing returning drama series on ITV
that year. The final film was ITV's best performing drama of any type
for ABC1 Men during 2014.
Endeavour III has
been commissioned by ITV’s Director of Drama Steve November and
Controller of Drama Victoria Fea.
Russell Lewis serves
as Executive Producer alongside Mammoth Screen’s Damien Timmer and
Michele Buck, and Dan McCulloch (original Endeavour Producer, Indian
Summers). Tom Mullens (Black Work, New Tricks, Waterloo Road) will
produce the new series.
Endeavour will be
distributed internationally by ITV Studios Global Entertainment.
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